Bampton Classical Opera’s spirited La locandíera is a remarkable tribute to the bicentenary of Salieri’s death

United Kingdom Antonio Salieri, La locandíera (The Landlady): Soloists, Orchestra of Bampton Classical Opera / Andrew Griffiths (conductor). The Deanery Garden, Bampton, Oxfordshire, 18.7.2025. (CP)

Production:
Director and Designer – Jeremy Gray
Movement director – Karen Halliday
Costumes – Pauline Smith and Anne Baldwin
Lighting – Ian Chandler

Cast:
Mirandolina – Siân Dicker
Fabrizio – Samuel Pantcheff
Lena – Rosalind Dobson
The Baron Ripafratta – Osian Wyn Bowen
The Count of Albafiorita – David Horton
The Marquis of Forlimpopoli – Aidan Edwards

A balmy night, gorgeous gardens with hundreds of patrons enjoying elaborate picnics is the ultimate country house summer garden opera scenario. This was how it should be and how it was, sadly, for Bampton Classical Opera’s final-ever visit to the Deanery Garden.

Jeremy Gray introduces himself as ‘one of the crazy couple who set up Bampton Classical Opera 32 years ago’. What remarkable success the Bampton Classical Opera has enjoyed since 1993. Antonio Salieri has long been composer of choice; the current production of the dramma giocoso La locandíera fully justifies this choice and is the fifth of his operas to be performed by the company. In the twenty years between 1753 when Carlo Goldoni wrote one of his funniest plays Mistress of the Inn and 1773, Domenico Poggi produced the libretto which Salieri transformed into a very straightforward opera La locandíera. The story goes that Salieri took on the composition without having read the libretto! What confidence by a 23-year-old composer! 2025 is the 200th anniversary of the Salieri’s death.

This production is set in the Art Deco period, probably the 1920s; the Florentine inn set is a simple one, full of colour, a frequently used telephone of the period and with signs which changed from ‘Rooms Available’ to ‘Inn Fully Booked’ as the arriving guests begin their manoeuvres. Gray’s insistence the opera requires singers who can act was fully justified by the performances of all six of them. Household servants, Lena (Rosalind Dobson) and Fabrizio (Samuel Pantcheff) sing a fine duet where early signs of Lena’s keenness to attract the attention of her servant colleague become evident. In tandem they work well to keep the pace zipping along which is achieved throughout.  Innkeeper, Mirandolina (Siân Dicker) maintains a firm hand over the running of her recently inherited business with special attention to the behaviour of privileged guests. Those include a Baron, a Count and a Marquis, of whom, the Baron (Osian Wyn Bowen) is the most irritating as his ‘manners are deplorable’.

Bowen is a very accomplished tenor, excelling in comedy due to his strong acting capabilities. He soon faces the first of several fully justified psychological assaults from Mirandolina. Dicker steals the audience attention whenever she appears. Her singing is powerful, her diction excellent and her interpretation of her role as the conscientious innkeeper/landlady with a strong commitment to quality is superb. The Count of Albafiorita (David Horton) and the Marquis of Forlimpopoli (Aidan Edwards) are both manipulated by their landlady’s charm. Both are in competition with the Baron for her attention. Horton and Edwards make the very most of their comedic roles, becoming involved with cricket, tennis and finally croquet; the last pursuit offering one of the most amusing lines in Gilly French’s clever translation, ‘you’ve broken my weapon’, as the Count faces an aggressive Baron whose affection for Mirandolina is not reciprocated. In addition to the Count facing a challenge, Fabrizio, too, continues his efforts to secure her affection.

Finally, he does secure her attention and they become engaged to which the Baron – as one who is uncomfortable at being attracted to a woman responds – ‘I’ve had a fright’! Throughout this delightful operatic comedy, Lena (Rosalind Dobson) the maid remains faithful to her employer. She sings her aria ‘All I know is that my mistress is a little unrelaxed’ with considerable conviction, in response to quizzing by the Baron. In Act III she appears in the most fetching of cocktail dresses with a headdress to match as she declares ‘there is no more anger’ as her search for a husband continues. Pauline Smith and Anne Baldwin in charge of costumes contribute to this production’s fun with many a clever costume change. Fitting with the Art Deco set, their choice of colours and appropriately aged equipment and sporting attire is excellent.

Conductor Andrew Griffiths deserves special mention for his efforts with members of the Orchestra of Bampton Classical Opera. From a position in a marquee some distance from the action he was in word perfect ensemble with the libretto as he conducted enthusiastically for the two hours of this happy occasion. Fortunately, the two performances were rain free which makes the news about future plans all the more intriguing.

Regrettably, this will be the last year Bampton Classical Opera will appear at the Deanery Gardens. The ‘crazy couple who set up Bampton Classical Opera 32 years ago’ – Gilly French and Jeremy Gray – are to change direction. Increased costs and smaller grants demanded a closer look at what future initiatives are best at this time. Semi-staged productions will be planned, some concert performances and smaller-scale operations. And so, we say ‘au revoir’ to the hosts at Deanery Garden with sincere thanks for hosting some of the most exciting examples of what a country house summer garden opera should resemble.

Clive Peacock

Bampton Classical Opera will perform La locandíera on Tuesday 16 September in London’s Smith Square Hall, for more information click here.